KJCKorea
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This thesis examines critically the validity of Buddhist sculptures in Seokgulam as unified Silla’s reference works of Buddhist art in the mid-8th century. The basic reason why Seokgulam’s Buddhist sculptures are set up as unified Silla’s reference works of Buddhist art in the mid-8th century is that they identified the records about the foundation of Bulguksa in 『Samgukyusa』 compiled at the end of the 13th century with the foundation of Seokgulam. However, the records about Seokgulam in 『Samgukyusa』 were written as grounded on <Hyangjeon> which even the compiler, Il Yeon, did not rely on as historical fact, and according to the result of analysis, it was figured out as a tale that was formed with Jeomchal religion in Goryeo as its background. In addition, <Bulguksaseoseoktapjungsugi> recently released records the period of founding Bulguksa with Cheonbo Wonnyeon (742) and presents a new ground with which we can advance the period of founding Seokgulam that has been identified with that of Bulguksa’s foundation. Unified Silla’s Buddhist sculptures from the late 7th century till the early 8th century such as Chaeyusinjangsangjeon excavated from Sacheonwangsaji, Sacheonwangsang from Gameunsaji Seoktap Geumdongsarioeham, and Geumdongsamjonpanbul excavated from Wolji were developed with no significant time difference from the icons or expression patterns in China or Japan during the same period. With regard to that tendency, it has been pointed out as a matter that can be hardly acceptable that there was a big time difference in Seokgulam’s sculptures of the mid-8th century. According to the result of analyzing the research results of art history circles about Seokgulam’s Buddhist sculptures that have been accumulated so far, it has been commonly pointed out that compared with the Buddhist sculptures of China and Japan in the mid-8th century, the icons and patterns seem more conservative. But the concept of conservativeness can be applied only when the time of production is certain. When the records of Seokgulam’s foundation in 『Samgukyusa』 and Seokgulam’s sculpture patterns are approached separately, this study keenly states that there is possibility that Seokgulam sculptures’ conservative tendency can be reinterpreted as a universal pattern of the time.

Seokgulam, Bulguksa, Hyangjeon, Kim Daesung, Daeseonghyoisebumo